If the purpose of art is to express thoughts, convey feelings, and communicate ideas in a visual way, then it is logical that many artists choose to install their art on bustling streets, towering walls, and open fields. Until the 1970s, though, most art was confined by the walls of museums, or in the homes of upperclass citizens, hidden from the eyes of the everyday public. This artificial, commercial quality of art underwent a revolution during the 1970s, and three artistic movements emerged: street art, graffiti, and earthworks. These movements brought art back to the public, where the artists message could be viewed by a broad audience, and sometimes even transformed by the public. These three movements forced the audience to ask, “why is this here and what does it mean?” This question can be answered through examining trends in location, materials, and intended purpose.
Many books examine these individual artistic movements. Street Art by Cedar Lewisohn examines a wide array of pieces, including many interview with street artists, and a comparison of the street art movement and the graffiti movement. This book is useful because it includes detailed information about the meaning and materials used in each piece. Born in the Streets: Graffiti is similar to Lewisohn’s book, but focuses only on the graffiti movement, including its history and interviews with some of the first graffiti artists. Earthworks and Beyond by John Beardsley documents the history and future of the earthworks movement, exploring a range of pieces traditional and nontraditional. Together, these three books shed light on the history of these movements, and provide examples and case studies from each movement.
The role of public art is explored in several books, as well. Public Art: Theory, Practice and Populism by Cher Krause Knight examines the history of public art, and gives examples of public art and the overarching theme of interacting with the public. In the chapter “Not Quite ‘Art’ Not Quite ‘Public,’” Knight looks at the earthworks movement specifically, comparing it to other popular public art movements. Public Art: Thinking Museums Differently by Hilde Hein looks at the rejection of museums in public art. This is significant because moving beyond museums is a common theme in all three movements.
Through examining specific pieces from these three movements, and considering the public art movement in general, connections can be drawn between these movements, and common trends can be determined.
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If the purpose of art is to express thoughts, convey feelings, and communicate ideas in a visual way, then it is logical that many artists choose to install their art on bustling streets, towering walls, and open fields. Until the 1970s, though, most art was confined by the walls of museums, or in the homes of upperclass citizens, hidden from the eyes of the everyday public. This artificial, commercial quality of art underwent a revolution during the 1970s, and three artistic movements emerged: street art, graffiti, and earthworks. These movements brought art back to the public, where the artists message could be viewed by a broad audience, and sometimes even transformed by the public. These three movements forced the audience to ask, “why is this here and what does it mean?” This question can be answered through examining trends in location, materials, and intended purpose.
Many books examine these individual artistic movements. Street Art by Cedar Lewisohn examines a wide array of pieces, including many interview with street artists, and a comparison of the street art movement and the graffiti movement. This book is useful because it includes detailed information about the meaning and materials used in each piece. Born in the Streets: Graffiti is similar to Lewisohn’s book, but focuses only on the graffiti movement, including its history and interviews with some of the first graffiti artists. Earthworks and Beyond by John Beardsley documents the history and future of the earthworks movement, exploring a range of pieces traditional and nontraditional. Together, these three books shed light on the history of these movements, and provide examples and case studies from each movement.
The role of public art is explored in several books, as well. Public Art: Theory, Practice and Populism by Cher Krause Knight examines the history of public art, and gives examples of public art and the overarching theme of interacting with the public. In the chapter “Not Quite ‘Art’ Not Quite ‘Public,’” Knight looks at the earthworks movement specifically, comparing it to other popular public art movements. Public Art: Thinking Museums Differently by Hilde Hein looks at the rejection of museums in public art. This is significant because moving beyond museums is a common theme in all three movements.
Through examining specific pieces from these three movements, and considering the public art movement in general, connections can be drawn between these movements, and common trends can be determined.
WORKS CITED:
Beardsley, John. Earthworks & Beyond. 1st ed. New York: Abbeville Press Inc.,U.S., 1984. Print.
Hein, Hilde. Public Art: Thinking Museums Differently. Walnut Creek, CA: AltaMira Press, 2006. Print.
Knight, Cher Krause. Public Art: Theory, Practice and Populism. Malden, MA: Wiley-Blackwell, 2008. Print.
Lewisohn, Cedar. Street Art: The Graffiti Revolution. 1 ed. New York: Abrams, 2008. Print.
Rosenberg, Harold. The De-definition of Art: Action Art to Pop to Earthworks. Far Hills: Horizon Press, 1972. Print.
Born in the Streets: Graffiti. New York: Thames & Hudson, 2009. Print.